! 1

Day 4: Varying the Time andTempo Rubato

19th century musicians were not playing in strict time. They left us some clear guidelines that we can apply to pieces.

Aguado was the only guitarist (that I’ve found) who had much to say about varying the time:

“When one plays alone, the expression permits a slight change in the beat in some short passages, either quickening it or slowing it; in this case there is an apparent departure from the tempo for a moment, and then it is followed with the same accuracy as before.”

But that doesn’t give us much to go by. So I have drawn information from other sources in an attempt to draw a clearer picture of how and why 19th century musicians were varying the time.

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The use of Ritardando and Accelerando

Czerny (who was a pupil of Beethoven) left us some very detailed information about how, where, and why ritardando and accelerando were used.

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It is also evident that 19th century musicians were varying the way that they varied the time!

Conclusions:

We have 11 different opportunities for varying the time (a-l) and they mostly take the form of the Ritardando

We can “mix n match” and play the same passage with different types of variations in time

! 4

Examples of Ritardando in 19th century guitar pieces

a) In passages that contain the return to the principle subject

Sor Etude 2

Sor Etude 7

b) In passages that lead to some separate member of a melody

c) In those long and sustained notes that are to be struck with particular emphasis, and after which quicker notes are to follow

Sor Etude 7

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d) At the transition into another species of time, or into another movement, different in speed from that which preceded it

Sor: Grand Solo (Simrock)

e) Immediately after a pause

Sor Etude 17

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f) At the Diminuendo of a preceding very lively passage; as also in brilliant passages, when there suddenly occurs a trait of melody to be played piano and with much delicacy

g) In embellishments, consisting of very many quick notes, which we are unable to force into the degree on movement first chosen

Mertz: Fantasie Hongroise

Regondi: Introduction et Caprice

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h) Occasionally also, in the chief crescendo of a strongly marked sentence, leading to an important passage, or to the close

Sor Etude 20

i) In very humorous, capricious, or fantastic passages, in order to heighten the character so much the more.

Sor Etude 12

j) Almost always where the composer has indicated an espressivo

Mertz: Fantasie Original

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“In pieces whose character is passionate, angry, wrathful, furious, etc., the loudest parts can be played quicker (accelerando). In the same way individual phrases that are repeated louder (and usually at a higher pitch) must be accompanied by an increase in speed. If, from time to time, gentle sensations are interrupted by a lively phrase, the latter can be accelerated slightly. Phrases which are meant suddenly to arouse violent emotions are also played faster.”

--- Turk, Klavierschule, 1789

Accelerando

Sor Etude 17: repeating phrase sequencing up = opportunity for accelerando

Sor Etude 20

! 9

“Improvisations, cadenzas, full-closes, etc., as well as phrases marked Recitativo, must be played according to one’s feeling rather than in strict time ... Such phrases would make a poor impression if one were to play them exactly (bar by bar) according to the true value of the notes. The important notes must be prolonged and emphasized; the less important ones played quicker and with less emphasis; in the way that a singer with feeling would sing the notes or a fine orator would declaim the words.”

--- Turk, Klavierschule, 1789

Pratten wrote in a short cadenza into the end of Sor’s Op 11b, No. 5 Minuet:

Tempo Rubato

Cadenzas

“This term has more than one meaning; it is most commonly understood to mean the shifting of notes by playing them too soon or too late. Thus certain notes are deprived (as it were robbed) of some of their value, while others are given that much more.”

a)

b)

c)

4

13

22

31

40

49

58

67

75

“Example a) shows the proper notes; b) shows rubato by anticipation (anticipatio), and c) by retarding (ritardatio)

--- Turk, Klavierschule, 1802

! 10a)

b)

c)

Original

With tempo rubato (anticipatio)

4

13

22

31

40

49

58

a)

b)

c)

Original

With tempo rubato (retardatio)

4

13

22

31

40

49

58

Chopin Nocturne Op. 9, no. 2

Lagrima